A Few Words About "Fugue"...

I've been in rehearsal for "Fugue" for a month or so, now. The show opens on Wednesday, August 29th. And runs for eight weeks.

It's currently five weeks away from opening night.

I thought I might take a little time tonight and throw some words at this show and my experiences rehearsing it, so far, and see if I can't give you a sense of what I am experiencing and what lies ahead.

Here's the description of the show, taken from the TM auditions call. It's what caught my eye and got me interested in the show, in the first place.

In the style of a musical fugue, this piece explores layered perspectives on a specific theme.
4 scenes will play onstage simultaneously, as instruments in a fugue would be played, exploring the suggestion of the show through long scenes that run the entirety of the show. These scenes will invade each other's space while maintaining their own voices, and fluid give-and-take will allow for each scene's "instrument" to be clearly heard.

Sounds interesting, no?
Duets running simultaneously, never resting, intersecting spatially, but not scenically. Actors existing in the same physical space, whereas their characters are in separate rooms, countries and times. Almost like ghosts that the audience can see, moving around them, unaware, but they themselves cannot see.

There's something ethereal and lovely, lurking underneath the surface of this show concept. The feeling of being isolated in a crowd. Who hasn't felt that?

I am encouraged by everything that I've seen in this process. The cast is strong and dedicated. Each rehearsal has a fresh, alive feeling. Almost like we all know that we're onto something special here and we're all marking every moment of rehearsal.
And the cast speaks with such a varied voice in rehearsals. There are a few "old theater dogs" in the cast. And a few "newbies" too. But there's no sense of rank or social structure involved. We approach each other openly, with respect and interest. And that leads to some very exciting scenes playing out.
It's also a very, very smart cast. The discussions that we have about the form, inevitably branch out to be discussion of improv, as a whole. I get goosebumps everytime anyone asks, "Why DO we do it like that?" I wish every improviser began every rehearsal with that question.

I like Don's direction. It's clear that he's really, really into this process. He's actively engaged by the challenges of this show. And he's been very, very smart about the warm-ups and the exercises that he's given us. Everything that we do, from the first rehearsal check-in process, to the physical warm-up to the scenic explorations, all have elements that are directly applicable to the show.
He also has created a very real, "Anything Is Possible" attitude in rehearsal. He's not constrained by his own vision for the show. I've seen it adapt and engage the work that we're giving him. His advice is always "I don't know if that will work or not, why don't you give it a try?" and that has lead us to some really wonderful discoveries.
I also like that he encourages us to surprise him. Which keeps us thinking. Did I mention that it's a very smart cast?

I've had some surprises in the rehearsal process. I find myself, letting go and taking risks with these talented, young actors and actresses. I've revealed some very personal information about myself to them. Because they offered the same to me. And I wanted them to know that I would give them as much as they gave me.
I've also fucked up a few times in the exercises. For example, there's a physical warm-up where we start in a prone position on the floor and take twenty minutes to get into a standing position. I've never done it "right". Not once. I always fuck up my timing and finish way too early. And in those moments, when I've already "failed" the exercise, I've had some absolutely engaging moments of "well, NOW what do I do". The answer, I've found, is that I continue moving slowly, continue failing, and find something that satisfies me in that place of failure.
Normally, I hate failing at something. I've learned a lot from my failures in these rehearsals. And I didn't mind failing at them. Which is a pretty good indicator that it's a safe rehearsal environment.

We've ran the form a few times now and it's like watching a sniper hit a long-range target. Our first shot was a little off the mark. Our second shot was off the mark, in the other direction, but closer to target. Our third shot, was off in another direction, but still closer to the target. They're not random shots, we're triangulating on the form and getting closer with each shot at it. It's only a matter of time until we hit the bullseye.

And it's a very process. The end result will be a very exciting show. A thrilling, dangerous exercise in theatrical improvisation that will open you up to the possibilities of the artform. I've been seeing a lot of the same shows lately. Hell, I've been doing a lot of the same shows, lately. Different forms, same playing style, same subject matter, etc. This show and what it's going after, is a breath of fresh air.

I want everyone to know about it, because I want them to be able to come see it. Sink or swim. Succeed or fail, this show is reaching for the stars and that's what it's all about right? Art. Life. Love. Which of these should be harnessed by modest goals?

None of them.

I think it's going to be a good show. An exceptionally good show. If it's been a while since you saw an improvised piece that got you jazzed up to be doing the work, then you might want to mark your calendar and come check this show out. I think that you owe it to the starving artist inside your soul.

One voice, in a company of eight,
Mr. B